“Granada” aria twin flame of Damascus
ST_ Interview with Stephane Sénéchal
Stéphane Sénéchal declared from Damascus Opera House two days before his big spectacle from the rehearsal: “What could be better than the iconic “Granada” aria, emblem of the great Umayyad dynasty in Damascus.” He showed his admiration for the “incredible capacity for work and the musicality of these musicians, who have nothing to do with this bloody war, yet whom Western powers have deprived of everything!” as he sharply put it. Yes, Stéphane! an aria is not just a self-contained piece for solo voice,accompanied by orchestra, it is an independent voice for liberty and beauty.
The most read French writer and novelist, Alexandre Dumas, once said: “The truth is, that I’m beginning to wonder if there is any greater pleasure in life than visiting Granada. …and I am going back and visiting it again.”Because as he put it “Granada; is more dazzling than a flower and more flavourful than the fruit it is named after, like a virgin lying in the sun”. But what were the reasons of Stéphane Sénéchal for revisiting Damascus?
“My Andalusian origins fascinates me and by the Andalusian Realm mean the Omayyad dynasty (which is Syrian). But my principal reason was Damascus Opera House invitation to make an opera concert in Damascus, and I was very honoured to accept the invitation for the second time.”
Granada and Damascus are two faces of the same coin. Being the oldest continuously inhabited city in the world, it is not unusual for Damascus, to be a muse and inspiration for artists and writers from all over the world. No one can escape the fascinating description of the American writer Mark Twain of Damascus that will rest in his memory forever “We shall remember …… the ‘Pearl of the East,’ the pride of Syria, the fabled garden of Eden, the home of princes and genii of the Arabian Nights, the oldest metropolis on Earth, the one city in all the world that has kept its name and held its place and looked serenely on while the Kingdoms and Empires of four thousand years have risen to life.” How Stephane Sénéchal was inspired by Syria?
“I am totally inspired by Syria, because before singing I was studying geopolitics. Stéphane Sénéchal from his official Facebook page stated “It is a great honour to be in Syria a country with a very high civilizational and artistic added value. The cradle of writing, musical writing, agriculture and the sedentarization of men known as the Neolithic revolution. Mount Qassioun adjoint to Damascus is considered the cradle of Abraham and famous biblical legends. Syria is the cradle of Mediterranean civilization as evoked by the famous historian Fernand Braudel.”
Syria as the incarnation of orient inspired various types of arts especially “libretto of opera”, which is text of an opera, operetta, or other kind of musical theatre; like Aureliano in Palmira that is an operatic drama written by GioachinoRossini centering on the rivalry between the Roman Emperor Aurelian and Prince Arsace of Persia over the beautiful Zenobia, Queen of Palmyra.
Numerous individuals have praised and loved Syria, immortalizing its land and cities through their poetry.According to many Arab poets and writers, Damascus isone of the most poetic cities as it is the most praised place in Arabic literature, writers, singers, artists from all the four quarters of the Arab nation have written something about Damascus. No one entered this city without being affected forever as if it is a magical spell…just like poetry. What is Stephane Sénéchal going to write about Damascus, a melody, a poem…?
“I sing, this is my mean of expression, but if people recognize me other talents, I might someday create a melody about Syria on piano, enthused by the first melodyin the world “Ogarit melody”. The great Palmerian queen Zenobia might inspire me to write a piece of music.
My second meeting with this remarkable soprano, was as rich and as warm as the first one, his vivid presence that brings positive vibes, his love and admiration for my homeland Syria is present in all his statements, which makes me confused, overwhelmed and very proud to bepart of this civilisation, whom he labelled prodigious, elegant, deeply rooted. What is so fascinating for Stephane Sénéchal about Syria, are you planning to revisit again Syria?
“Absolutely, I am already craving to revisit Syria. There is something fascinating about Syria, this serenity that I feel every time I visit this country, despite all the difficulties this country has the capacity to reborn again and again, to recreate itself, to appear again. Yes, I will revisit even if there is no concert, just for the sake of visiting and discovering.”
Why Otherness is so compelling, do you see like orientalists that oriental culture is primitive and exotic as a mysterious woman you want to discover?
“I don’t really know if my target is to discover a mysterious woman” Senechal avowed laughing. “But for sure oriental culture inspired occident, like Samson and Delilah, which is a grand opera based on the Biblical tale of Samson and Delilah taking place in Gaza, with two oriental heroes.”This opera concentrates on Dalila, who is portrayed as a manipulative, conniving, ruthless woman bent on revenge; whereas Samson is presented as an inspiring leader. Samson and Delilah being among the most frequently performed operas, has become a part of the standard opera performance repertory at most major opera houses. Another significant impact of the oriental mythology in the opera is Salome, Op. 54, by Richard Strauss, based on the 1891 French tragedy Salomé by Oscar Wilde, Salomé is the princess of Judaea, a province of Ancient Rome in today’s Palestine, who fall in love with Iokanaan (John the Baptist) who rejects her. In addition, to Zenobia, regina de’ Palmireni (Zenobia, Queen of the Palmyrians) which is an opera in three acts by Tomaso Albinoni and was his first opera, written when he was only 23, and was first performed at the carnival in Venice. Albinoni was also the first composer to write an opera on the theme of Zenobia.
“Beauty has always been inspiring, especially female beauty because it is mysterious and wild.” Added Senechal.All those operas are examples of female oriental characters that have become icons in opera art, which is considered an occidental art especially the level of vocal techniques.Senechal highlighted the importance of Um Kalthoum as an iconic female voice, who was very engaged in her society and defended women’s rights, literally describing her as a “Diva, like a soprano in opera, she is like Maria Callas, and I have been inspired by her”
For the subsequent time in two years, Damascus Opera house has hosted the spectacular voice of the prominent international Tenor Stéphane Sénéchal, who has made a concert in 2019 in Syria, and awaited the end of the Covid19 confinement to make his comeback to Syria, whom he describes as the beginning of all beginnings.Edward Said argues a “beginning,” especially as embodied in much modern thought, is its own method. Distinguishing between “origin,” which is divine, mythical, and privileged, and “beginning,” which is secular and humanly produced, Said traces the ramifications and diverse understandings of the concept of beginning through history. A beginning is a first step in the intentional production of meaning and the production of difference from preexisting traditions. Therefore, Stéphane Sénéchal is reproducing a preexistingbeginning from Damascus Opera house this Thursday; as all the evenings he initiated at 7 o’clock sharp duringCovid19 confinement. How does Stéphane Sénéchaldescribe this new beginning?
“First of all, I am very honoured to be hosted at Damascus Opera House for the second time, my new beginning from here is in the frame of presenting my solidarity and compassion with the Syrian people as it was when I song every evening at my window in Paris throughout the period of Covid19 confinement.”
During this compulsory quarantine, we had a daily meetingwith the marvellous voice of Stéphane Sénéchal who sang at the window of his apartment in the 11th arrondissement in Paris at 7 o’clock every evening. A small window thatopened to the world this is the true meaning of art, and more precisely music, isn’t music an aural minuscule capacity coming from a secret tiny cave at the end of the throat traveling to the other’s spirits and worlds. As far as he is concerned, he believes that singing at his window is “louder than at the Opera”. He explains “I don’t play a role here; I am myself confined like everyone else.” Or simplyas Sénéchal put it in his interview with Le Figaro: “We need more than ever solidarity; so I started singing at my window to express my solidarity with those who are suffering.” Stephan Sénéchal thought during the quarantine to share his voice not only with those who like opera or usually went to opera but with all the people confinedespecially elderly and sick people in his neighbourhood or passing by in the streets and that his initiative was all a volunteering work to show compassion.
After attracting such attention in the international Mediacircles, since most prominent TV channels have interviewed you; was it more difficult for Stéphane Sénéchal to convince the mainstream media to change their one version of the story in regards of the Syrian war and that there might be other narratives. Has the stereotyping of Syria as being the most dangerous destination on earth, and Syrians as being all bloody terrorists, changed?
“Actually, I couldn’t believe the success and the thousands of followers on social media after my initiative to sing at my window, as I song in various languages (French, Italian, Russian, German, English, and even Arabic) and song in particular for peace in Syria from my window in Paris, because Syria needed more attention in Covid19, it was very important for me that the whole world understand the very tough time a country like Syria, torn by war, is enduring through pandemic period.”
“I will fight all my life against the stereotyping of the Syria as dangerous and bloody and full of terrorists, because the reality is totally different. Through my various trips to Syria in the war times I have encountered a very bright peaceful people, and I record this in all my social media accounts to show the world that me Stephan Senechal is talking to you from here, from Syria. In addition, whenever I am invitedon any media mean in Europe or New York, I always highlight the importance of showing the reality of what is happening in Syria. I once recall, when a very important journalist in a European TV asked me about the situation in Syria and has a ready preconception of what is happening in Syria which is totally wrong, I just asked her: “Do you know in the first place what are the borders of Syria?” She was absolutely incapable of answering my question.
Stéphane Sénéchal from Damascus Opera House expresses again his solidarity with the Syrian people who is still suffering from war aftermaths, yet they are still holders of agreat civilization that must be celebrated as a worldheritage. From his former multidisciplinary degrees in Art History and Italian Literature (Bordeaux III), a Master of Geopolitics (University Paris 8) then a Masters of Political and Administrative Science; which give him a rich background to recognize the critical role of Syria not only as a beginning of civilization but as fertile cultural and ethnic cultivation always pre-equipped to flourish again and again. Do you envision from your position as aGeopolitics’ scholar a relief in the Syrian crisis that has exceeded a decade for now?
“I hope to see some kind of relief in the coming years for the Syrian people, especially on the economical level, I think that the Syrian people is a surviving people with so many talented persons in so many fields. I am very enthusiastic in this regard.”
Stéphane Sénéchal (formerly known by his birth name Malbec Garcia), born in Saint-Denis (Seine-Saint-Denis), is a French tenor and director; who acquired worldwide reputation during the Covid epidemic -19 by singing at his window, mainly known as an interpreter of the lyrical repertoire from opera to international song through operetta and the French Melody1. In 2010, he took the surname of his mentor Michel Sénéchal with the agreement of the latter. When one decides to change his name, under which conditions? Is a metaphor of release from previous life?
“Michel Sénéchal has a very important impact on my career as a tenor, I meet him during my master class when I started singing while I was still a student. I was influenced by him, and was very close to his style. He told me that he has no apprentice nor a real son and that he wanted to be my mentor and gave me his name, that was an enormous honour for me. Michel Sénéchal as you might know is a very big name and a star; and as I like to call him, he is a dinosaur in the world of opera. He is the friend of Pavarotti, Montserrat Caballé, and Maria Callas.”
“Michel Senechal decided for me a career, since I wasmuddled between launching a profession in education and teaching geopolitics, or entering the political or diplomatic corps, or following my vocation in opera singing; so he told me: “You are going to sing now, you can teach or do anything latter but you either sing now or never.”
To end up this fascinating interview Stephan Senechal told Syriatimes: “My message in Syria is not only a message of peace or love, but also a message of take care, be careful. Every time I choose careful what I am going to present in my concert in Syria, for instance, I chose this time to sing opera Tosca by Puccini “E lucevan le stelle” (And the stars were awakening and shining), the message is that despite all the difficulties, war, and tragedies, Syria always restart, reborn, revive, rise and awaken and shine again, and the reason is its incredible people.”
I am involved and engaged in the Syrian cause. I don’t just come to because I love Syria, no it is a must.”
Interview: Lama Alhassanieh